Horácio
Costa (Brazil)
1954
For a long while Costa lived in Mexico
City, where he was a professor at the National Autonomous University of Mexico
(UNAM), and lived as a companion of Mexican poet Manuel Ulacia. When the
relationship broke up, he returned to São Paulo.
Costa’s poetry evinces a high wit and a strong visual texture, along with his active concerns for the rights of homosexuals. Among his several book publications are 28 poemas 6 contos (1981), Satori (1989), O livro dos fracta (1990), The very short stories (1991), Los jardines y los poetas (a bilingual Spanish-Portuguese anthology, 1993), O meinino e o travesseiro (1994), and Quadragésimo (1998). In addition to extensive critical writhing, Costa has translated the poetry of authors such as Elizabeth Bishop and Octavio Paz into Portuguese.
The poet's most recent book of criticism is Retratos do Brasil
Homossexual (São Paulo, 2010).
Costa and his husband divide their time between São Paulo and Rio de
Janeiro.
28 poemas, 6
contos (São
Paulo: José Gatti, 1981); Satori (São
Paulo: Iluminuras, 1989); O livro des
fracta (São Paulo: Iluminuras, 1990); Quadragésimo
(São Paulo: Ateliê Editorial, 1998); Fracta: antologia
poética. seleção de Haroldo de
Campos (Perspectiva, 2004), (Fondo de Cultura Economica, 2009); Paulistanas / Homoeróticas (Lumme editor, 2007); Ravenalas (Selo Demônio Negro, 2008); Ciclópico olho (Selo Demônio Negro, 2011); Bernini: poemas 2008–2010 (Selo Demônio Negro, 2013); 11/12 onze
duodécimos (Lumme editor, 2014); A hora e a vez de Candy Darling (Martelo,
2016)
ENGLISH
LANGUAGE TRANSLATIONS
Selected
poems in Quadragésimo (São Paulo: Ateliê Editorial, 1998); Selected
poems in The PIP Anthology of WorldPoetry of the 20th Century, Volume 3: Nothing the Sun Could NotExplain—20 Contemporary Brazilian Poets (Los Angeles: Sun & Moon Press,
1997; reprinted by Los Angeles: Green Integer, 2003)
Portrait
of Don Luís Gôngora
vampire
face, life-battered nose,
stiffness
your immoderate pride,the corners of your smile drawn down without irony,
I do not see your hands, they might be writing,
they might be manipulating syntax’s abacus,
I see you absorbed in seeking dormant treasures,
larvae shimmer on the white page,
and your sphinx eyes, now fixed, penetrate me
they imitate your fan-like ears, your full cloak,
a mass of velvet or wool, Director always
of a baroque hospital before the Grand Renfermement,
for whom do you pose? You sing of the Esgueva
of your contemporaries’ thought, the radical sigh
of Nature in deep heat, lacteal language, azure field,
and you value me, Acis without, Polyphemus within,
this is the world Don Luis, you are sitting for me,
distinguished pre Kafkian cockroach goes from ante
to anteroom, patiently expounds his emphatic elastic decorum,
this much you must put up with, Jekyll without,
so small within, because you are child and beyond
the canvas’ frame you speak s blacks do—it is at night
that banality becomes a pearl, and your baldness fills the sky,
the void yields, and a lullaby escapes your word.
México, 1984
(from
Satori, 1989)
—Translated from
the Portuguese by Martha Black Jordan
Natural
History
Behind the taxidermist, there’s the straw
behind the rhinoceros, the savannah,
behind this writing only the night,
night which gallops to the fore.
The
moon leaps from the butterfly’s wing,
the
sun shines on the head of a pin,a black sun thrums through these lines,
star now rising on the horizon.
The
desiccated animal of syntax
furnishes
the word, the frame and the labelof a collection deader than the dead.
In
the natural history collection
the
visiting reader pauses alongsideshining mammals and insects.
_____________
“Portrait
of Don Luís Gôngora” and “Natural History”
Translation
copyright ©1997 by Martha Black Jordon, from The PIP Poetry of World Poetry of the 20th Century, Volume
3: Nothing the Sun Could Not Explain—20 Contemporary Brazilian Poets (Los
Angeles: Green Integer, 2003), Reprinted by permission of Green Integer.
For two other poems in English, go here: https://www.wordswithoutborders.org/contributor/horacio-costa
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